宋 Song · 词 Ci lyric
玉蝴蝶·望处雨收云断
The Jade Butterfly: Looking at the Place, the Rain, Gathered, the Clouds, Broken
望处雨收云断，凭阑悄悄，目送秋光。
晚景萧疏，堪动宋玉悲凉。
水风轻、苹花渐老，月露冷、梧叶飘黄。
遣情伤。
故人何在，烟水茫茫。
难忘。
文期酒会，几孤风月，屡变星霜。
海阔山遥，未知何处是潇湘。
念双燕、难凭远信，指暮天、空识归航。
黯相望。
断鸿声里，立尽斜阳。
Leaning the railing, quietly,
Watching off, the autumn light.
The evening scene, desolate and sparse,
Able to stir, the sadness of the Song Yu.
The water wind, light, the duckweeds, gradually, grown old,
The moon dew, cold, the parasol leaves, drifting, the yellow.
Sending away, the feeling, the hurt.
The old friends, where,
The misty waters, vast and boundless.
Hard to forget.
The appointed prose, the wine gatherings,
Several times, the lonely, the wind and the moon,
Repeatedly, the changing, the stars and the frost.
The sea wide, the mountains far,
Not knowing, where, is, the Xiaoxiang.
Thinking, the pair of swallows, hard to rely on, the far letters,
Pointing, the evening sky, in vain, recognizing, the returning sails.
Dark, looking at each other.
In the sound of the broken geese,
Standing, the utmost, the slanting sun.
Meaning
A lyric of the autumn and the far looking, written by Liu Yong. Looking at the place, the rain gathered, the clouds broken, leaning the railing quietly, watching off the autumn light, and the evening scene desolate stirring the sadness of the Song Yu — the autumn of the opening. The water wind light with the duckweeds grown old, the moon dew cold with the parasol leaves drifting the yellow, and the old friends where with the misty waters vast — the old friends and the misty waters. The appointed prose with the wine gatherings, the lonely wind and the moon with the changing stars and the frost, and the sea wide with the mountains far, not knowing where is the Xiaoxiang — the far of the journey. Thinking the pair of swallows hard to rely on the far letters, pointing the evening sky in vain recognizing the returning sails, and the close's dark looking at each other, in the sound of the broken geese, standing the utmost the slanting sun — the close's standing. The lyric is the autumn and the far looking: the autumn light, the old friends far, and the close's standing in the slanting sun.
凭栏远望，雨住了，云也散了，我独自悄悄倚着栏杆，目送着秋天的光景。傍晚的景色萧瑟疏落，真能触动宋玉那样的悲秋情怀。水面风轻，苹花渐渐老去；月下露冷，梧叶飘落变黄。这情景让人情怀伤感。故人在哪里？只见烟水茫茫。实在难忘啊，当年的文期酒会，多少次辜负了清风明月，岁月屡屡变换如星霜。海阔山遥，不知何处才是潇湘故地。想那成双的燕子，难以凭它传递远方的书信；遥指暮天，空自辨认归来的航船。黯然相望，在孤鸿的叫声里，一直站到斜阳落尽。
Appreciation
[Plain Paraphrase] Looking at the place, the rain, gathered, the clouds, broken, leaning the railing, quietly, watching off, the autumn light. The evening scene, desolate and sparse, able to stir, the sadness of the Song Yu. The water wind, light, the duckweeds, gradually, grown old, the moon dew, cold, the parasol leaves, drifting, the yellow. Sending away, the feeling, the hurt. The old friends, where, the misty waters, vast and boundless. Hard to forget. The appointed prose, the wine gatherings, several times, the lonely, the wind and the moon, repeatedly, the changing, the stars and the frost. The sea wide, the mountains far, not knowing, where, is, the Xiaoxiang. Thinking, the pair of swallows, hard to rely on, the far letters, pointing, the evening sky, in vain, recognizing, the returning sails. Dark, looking at each other. In the sound of the broken geese, standing, the utmost, the slanting sun. [Structure and Thought] The lyric moves from the autumn light and the sadness of the Song Yu, through the old friends far and the far of the journey, to the close's standing in the sound of the broken geese, the slanting sun. [Key Technique] The lyric's art is the far looking: the old friends where of the middle, and the close's standing the utmost the slanting sun — the sorrow gathered in the far looking and the close's standing. [Emotional Tone] Desolate, far, and sorrowful: the lyric is the autumn, the old friends far and the close's slanting sun.
【白话串讲】 柳永写玉蝴蝶：“望处雨收云断，凭阑悄悄，目送秋光”。“晚景萧疏，堪动宋玉悲凉”——“故人何在，烟水茫茫”——“文期酒会，几孤风月，屡变星霜”——“海阔山遥，未知何处是潇湘”——他写怀念故人。 【意象与手法】 全词以「望」字领起，由秋景而怀人，由今而忆昔，情景交融；「水风轻、苹花渐老，月露冷、梧叶飘黄」四组意象对仗工整，写尽秋之衰飒；结尾「断鸿声里，立尽斜阳」以景结情，余韵悠长。 【情感与主旨】 此词写秋日凭栏怀人，交织着时序之悲、羁旅之愁与故人之思，把「悲秋」与「怀人」两大传统融为一炉，情感缠绵深婉，是柳永羁旅词的典范。 【名句点睛】 常考「断鸿声里，立尽斜阳」以景结情的写法，以及「水风轻、苹花渐老，月露冷、梧叶飘黄」炼字之精（轻、老、冷、黄）。
Background
Liu Yong (c. 987–1053), the master of the slow ci, wrote this 'The Jade Butterfly: Looking at the Place, the Rain, Gathered, the Clouds, Broken' of the autumn and the far looking — the longing for the old friends. The autumn light with the sadness of the Song Yu, the old friends where with the misty waters vast, the far of the journey with the sea wide and the mountains far, and the close's standing in the sound of the broken geese, the slanting sun — the lyric gathers the far looking of the poet, the longing for the old friends. The lyric is one of the most famous works of the master's lyrics of the far looking.
《玉蝴蝶·望处雨收云断》是柳永羁旅行役词中的名篇。柳永原名三变，字耆卿，崇安（今福建武夷山）人，北宋婉约词派的代表词人。他早年屡试不第，晚年才中进士，一生仕途坎坷，长期流落于市井歌楼之间，其词多写羁旅行役、离愁别绪，语言通俗而情致深婉，有「凡有井水处，即能歌柳词」之誉。此词当为柳永宦游他乡、客居异地的秋日怀人之作，具体背景虽不可确考，但词中「海阔山遥，未知何处是潇湘」的漂泊之感、「文期酒会，几孤风月」的往昔追忆，正是其游宦生涯的写照。柳永词善于将时序之悲与身世之感结合，此词以秋日黄昏为背景，写雨收云断、梧叶飘黄的萧瑟景象，遂勾起对远方故人的思念，情与景会，物我交融。此词是研究柳永羁旅词情感世界与艺术手法的重要文本，也是宋词中「悲秋怀人」题材的典范之作。其以长调层层铺叙、由景入情的写法，直接影响此后周邦彦、姜夔一路，在词史上承上启下，地位甚为重要。
Art
The lyric's art is the art of the far looking. The autumn opens: looking at the place, the rain, gathered, the clouds, broken — the rain gathered, the clouds broken; leaning the railing, quietly — watching off, the autumn light — the watching of the autumn; the evening scene, desolate and sparse — able to stir, the sadness of the Song Yu — the sadness of the Song Yu; the water wind, light, the duckweeds, gradually, grown old — the duckweeds grown old; the moon dew, cold, the parasol leaves, drifting, the yellow — the parasol leaves drifting; sending away, the feeling, the hurt — the feeling the hurt. The far follows: the old friends, where, the misty waters, vast and boundless — the old friends where; hard to forget — the appointed prose, the wine gatherings — several times, the lonely, the wind and the moon — repeatedly, the changing, the stars and the frost — the gatherings of the past; the sea wide, the mountains far — not knowing, where, is, the Xiaoxiang — the not knowing of the Xiaoxiang; thinking, the pair of swallows, hard to rely on, the far letters — the far letters of the swallows; pointing, the evening sky, in vain, recognizing, the returning sails — the recognizing of the returning sails. And the close gathers the standing: dark, looking at each other — in the sound of the broken geese — standing, the utmost, the slanting sun — the standing of the close — the autumn, the far looking and the close's slanting sun, gathered in the lyric.
此词艺术上以「情景交融、今昔对照」见长。上片全写眼前秋景，以「望处」领起：「雨收云断，凭阑悄悄，目送秋光」写雨霁云散、凭栏远望之态，「悄悄」写无声，「目送」写凝望之久，起笔即定下萧疏的基调；「晚景萧疏，堪动宋玉悲凉」化用宋玉《九辩》悲秋之典，点出时序之感；「水风轻、苹花渐老，月露冷、梧叶飘黄」四组意象对仗，以「轻、老、冷、黄」四个形容词写尽秋之衰飒，炼字精工；「遣情伤」三字短句，直点情感，收束上片。下片转写怀人：「故人何在，烟水茫茫」由景入情，烟水茫茫既是实景又是相思的象征；「难忘。文期酒会，几孤风月，屡变星霜」转入追忆，写当年文期酒会之乐与别后岁月之变，「难忘」二字顿挫有力；「海阔山遥，未知何处是潇湘」写天涯阻隔，故人渺不可寻；「念双燕、难凭远信，指暮天、空识归航」写欲寄信而难凭、欲盼归而空望，双重的失望层层递进；结尾「黯相望。断鸿声里，立尽斜阳」以景结情，孤鸿哀鸣、斜阳立尽，把相思写到极致。全词今昔交织、虚实相生，章法绵密，是柳永长调「层层铺叙」手法的典范。
Allusions
'The sadness of the Song Yu' (Song Yu bei liang) is the sadness of the Song Yu — the sadness of the autumn of the Song Yu; 'the Xiaoxiang' (Xiaoxiang) is the Xiaoxiang — the rivers of the Xiao and the Xiang, the far of the south; 'the pair of swallows' (shuang yan) are the pair of swallows — the swallows of the pair, the hard to rely on; 'the broken geese' (duan hong) are the broken geese — the geese of the broken line, the sound of the close.
此词用典精切而化用无痕。「堪动宋玉悲凉」用宋玉《九辩》「悲哉秋之为气也！萧瑟兮草木摇落而变衰」之典，宋玉是中国文学史上悲秋传统的确立者，柳永引之，既写秋景之萧瑟，又暗含「宋玉悲秋」这一文人母题的认同，将个人之悲融入千年悲秋传统之中。「潇湘」用屈原《九歌》湘君、湘夫人的意象与典故，潇湘既是地名（今湖南湘江一带），又是诗词中思念与离别的符号，柳永以「未知何处是潇湘」写故人渺远，化用屈原「帝子降兮北渚」的怀人传统。「双燕难凭远信」暗用《开元天宝遗事》所载燕子传书的故事，又反用其意，谓虽有双燕亦难传远信，写音书难通之恨；「空识归航」化用温庭筠《望江南》「过尽千帆皆不是」的意象，写盼归而不得的失望。「断鸿」即孤雁，承南朝以来以孤雁写羁旅孤独的传统，如庾信「雁足传书」之典的反用，以断鸿写无信可传、无伴可依的孤独。全词用典皆融于景情之中，不见斧凿痕迹，正见柳永博学而能化的功力。
Commentary
This lyric is one of the most famous works of Liu Yong's lyrics of the far looking, quoted for the desolation of its autumn and the standing of its close. The old friends where with the misty waters, and the standing in the sound of the broken geese, are among the admired passages of the master's lyrics. Critics praise the lyric's farness: the sorrow gathered in the far looking, to the close's standing in the slanting sun.
《玉蝴蝶·望处雨收云断》是柳永羁旅词中的名篇，历来评价甚高。前人论柳词，或赏其「铺叙展衍，备足无余」的长调手法，或赏其「状难状之景，达难达之情」的抒情艺术，此词正是兼而有之的典范。上片写景，四组对句以「轻、老、冷、黄」四字写秋之衰飒，炼字之精，为历代词话家所称道；下片抒情，「断鸿声里，立尽斜阳」以景结情，把无尽的相思凝于孤鸿哀鸣、斜阳立尽的两个画面之中，余韵悠长，被推为以景结情的典范句。此词的价值还在于它将「悲秋」与「怀人」两大抒情传统完美融合：宋玉之悲秋是士不遇之感，柳永之悲秋则融入羁旅怀人的具体情境，使传统的悲秋母题获得了新的情感内涵。在词史上，此词上承温庭筠、韦庄的怀人传统，下开周邦彦、姜夔的铺叙笔法，是柳永对词体发展的重要贡献，历来入选宋词选本，是学习长调词艺术的上佳范本。全词情景相生、今昔互映，堪称柳永「状难状之景，达难达之情」的典范。
Prosody
Line by line
望处雨收云断，凭阑悄悄，目送秋光。
Looking at the place, the rain, gathered, the clouds, broken, leaning the railing, quietly, watching off, the autumn light.
凭栏远望，雨停了，云也散了，我独自悄悄倚着栏杆，目送着秋天的光景。
Looking out, the rain has ceased and the clouds scattered; I lean on the railing in silence, sending my gaze after the autumn light.
起拍以「望处」领起，点出全词的抒情视角——凭栏远望。「雨收云断」写雨霁云散的天象，「收」「断」二字写天气由雨转晴的动态，而雨后的秋光格外明净，正适合远望；「凭阑悄悄」写倚栏之态，「悄悄」二字写无声无息，既写独自凭栏的孤寂，又写凝望时的心神专注；「目送秋光」以「目送」写凝望之久，「秋光」点明时序，一个「送」字写出对秋光流逝的依依与无奈，暗含悲秋之意。三句由天象而人物而时序，层层展开，为全词铺开萧疏的秋日背景。柳永善以「望」字起拍写羁旅怀人，此词亦然，「望」字贯串全篇，目送秋光、望断天涯、立尽斜阳，皆由这一「望」字生发，章法严谨。
The opening is led by 'looking out,' marking the ci's lyric perspective — gazing into the distance from a railing. 'The rain has ceased and the clouds scattered' writes the sky after rain; the words 'ceased' and 'scattered' write the weather turning from rain to clear, and the autumn light after rain is especially limpid, suited to far gazing. 'I lean on the railing in silence' writes the posture of resting on the rail; 'in silence' means no sound — both the solitude of leaning alone and the concentration of rapt gazing. 'Sending my gaze after the autumn light' writes the long stare through 'sending my gaze'; 'autumn light' marks the season, and the verb 'send' writes reluctance and helplessness at its passing, carrying the grief of autumn. Three phrases move from sky to person to season, unfolding layer by layer and spreading the sparse autumn background of the ci. Liu Yong excels at opening with 'looking' to write travel and longing, and this ci is no exception; 'looking' runs through the whole piece — sending gaze after autumn light, gazing to the end of the horizon, standing out the setting sun — all grow from this one word, the craft rigorous.
水风轻、苹花渐老，月露冷、梧叶飘黄。
River winds are soft, the duckweed flowers aging; moon-dew is cold, plane leaves drifting yellow.
水面风轻，苹花渐渐老去；月下露冷，梧叶飘落变黄。
Wind over the water is soft, the duckweed blossoms fading; dew under the moon is cold, plane leaves drifting yellow.
此两句是全词写景的警句，四组意象两两对仗，写尽秋之衰飒。「水风轻」写水面微风之轻柔，「苹花渐老」写水中苹花之凋零，「月露冷」写月下露水之清冷，「梧叶飘黄」写梧桐叶之枯黄飘落。四个短语以「轻、老、冷、黄」四个形容词收束，炼字极精：「轻」写风之柔，是触觉；「老」写花之衰，是时间的推移；「冷」写露之寒，是温度的感觉；「黄」写叶之色，是视觉的直观。两句由水面而岸边，由花而叶，由风而露，写尽秋光的衰飒与凄清。此联对仗工整而意象密集，是柳永「状难状之景」的代表，也正是这萧瑟的秋景，触动了词人「遣情伤」的愁怀，为下片的怀人作了铺垫，情景相生，浑然一体。
These two phrases are the ci's aphoristic scenery, four sets of imagery paired two by two, exhausting the bleakness of autumn. 'River winds are soft' writes the gentleness of wind on water; 'duckweed flowers aging' the fading of water flowers; 'moon-dew cold' the chill of dew beneath the moon; 'plane leaves drifting yellow' the withered yellow falling of plane leaves. Four phrases closed by the adjectives 'soft,' 'aging,' 'cold,' 'yellow,' the word-work most refined: 'soft' writes wind's lightness (touch), 'aging' the flower's decline (passage of time), 'cold' the dew's chill (temperature), 'yellow' the leaf's color (sight). The two phrases move from water surface to bank, flower to leaf, wind to dew, exhausting the bleakness and desolation of autumn light. The couplet is tightly parallel and densely imaged, representative of Liu Yong's 'painting the unpaintable scene'; precisely this dreary autumn stirs the poet's 'sorrow of parting feeling,' preparing for the longing of the lower stanza, feeling and scene rising together in seamless unity.
文期酒会，几孤风月，屡变星霜。
Our days of letters and nights of wine — how often I have let the wind and moon go to waste, as stars and frosts turn again and again.
当年的文期酒会，多少次辜负了清风明月，岁月屡屡变换如星霜。
Those days appointed for letters and wine parties — how often I have let the breeze and moon go unshared, as stars and frost have changed again and again.
此三句由眼前秋景转入往昔追忆，是全词的转捩。「文期酒会」写当年与友人定期以文会友、饮酒赋诗的欢聚，「文期」即文会之期，是文人风雅的聚会；「几孤风月」写别后多少次辜负了清风明月，「孤」通「辜」，谓离别以来，多少良辰美景都因无人共赏而虚度，一个「孤」字写尽独处之憾；「屡变星霜」写岁月屡屡变换，「星霜」以星移霜降代指岁月，写离别之久。三句由欢聚之乐写到别后之悲，由「文期酒会」的密集节奏，到「几孤风月」的独处虚空，再到「屡变星霜」的岁月漫长，情感的浓度层层递进，把相思放在时间的坐标上加以丈量，愈显其深。此三句是柳永「铺叙展衍」手法的体现，追忆与现实交织，为下文的「海阔山遥」作了情感蓄势。
These three phrases turn from the present autumn scene to memory, the turning point of the ci. 'Days of letters and wine parties' writes the old gatherings with friends, meeting by appointment to share letters and wine; 'days of letters' are the elegant assemblies of literati. 'How often I have let the wind and moon go to waste' writes how often, since parting, the fair moon and breeze have been squandered with no one to share them; 'let go' is a loan for 'forfeit,' and the word exhausts the regret of solitude. 'As stars and frost have changed again and again' writes the repeated turning of the years; 'stars and frost' stands for time through the shifting of stars and the falling of frost, writing the length of separation. Three phrases move from the joy of old gatherings to the grief after parting — from the dense rhythm of 'days of letters and wine,' to the void of 'letting the wind and moon go to waste,' to the long stretch of 'stars and frost changing' — the concentration of feeling rising layer by layer, measuring longing on the coordinate of time and making it deeper. These phrases show Liu Yong's method of 'spreading and unfolding,' memory interwoven with present, storing emotional momentum for the 'wide sea and far hills' below.
海阔山遥，未知何处是潇湘。
The sea is wide, the hills are far; I know not where Xiaoxiao and Xiang are.
海阔山遥，不知故人所在何处，更不知何处才是潇湘故地。
The sea is wide and hills far; I know not where Xiaoxiang lies.
此两句写天涯阻隔、故人渺不可寻，是怀人情感的高峰。「海阔山遥」以四个字写尽空间之阻隔——海是那样辽阔，山是那样遥远，故人之所在，远在海山之外；「未知何处是潇湘」以「潇湘」代指故人所居之地，化用屈原《九歌》潇湘意象，潇湘既是具体地名，又是诗词中思念与离别的符号，一个「未知」写尽寻觅的渺茫——不是不知思念何人，而是不知那人在何处，无从寻觅，无从寄达。「未知」二字是全句之眼，把相思推到无可奈何的境地：海阔山遥是客观的阻隔，未知何处则是主观的迷惘，客观与主观的双重阻隔，使相思成了无着落的愁。两句由实入虚，由景入情，情感沉郁，为下文的「难凭远信」「空识归航」作了铺垫。
These two phrases write the barrier of horizon and the lost friend beyond finding, the peak of longing. 'The sea is wide and the hills are far' exhausts spatial barrier in four words — the sea so broad, the hills so distant, the friend's dwelling far beyond sea and hills. 'I know not where Xiaoxiang lies' uses Xiaoxiang for the friend's place, adapting the Xiaoxiang imagery of Qu Yuan's Nine Songs; Xiaoxiang is both a real place and a poetic symbol of longing and parting. The word 'know not' exhausts the uncertainty of seeking: it is not that he does not know whom he longs for, but that he knows not where that person is, unable to seek, unable to send word. 'Know not' is the eye of the line, pushing longing to helplessness: wide sea and far hills are objective barrier, 'know not where' is subjective confusion; the double barrier of object and subject makes a longing that has nowhere to alight. The two phrases move from the actual to the virtual, scene to feeling, the emotion somber, preparing for the 'hard to send a distant letter' and 'vainly recognizing the returning sail' below.
断鸿声里，立尽斜阳。
Amid the cry of a lost goose, I stand until the sunset is spent.
在孤鸿的叫声里，词人一直站到斜阳落尽，黯然相望。
To the cry of a stray wild goose, I stand until the slanting sun sinks away.
结尾以景结情，是全词最富情韵处。「断鸿声里」以孤鸿的哀鸣写听觉之凄清，「断鸿」即失群的孤雁，既写秋日实景，又是羁旅孤独的象征，孤鸿失群犹自哀鸣，词人独处何堪其悲；「立尽斜阳」写一直站到斜阳落尽，「立尽」二字把时间的流逝与伫立的持久写尽——从斜阳尚在，到斜阳落尽，词人始终独立凝望，相思之深、之痴、之绝望，尽在这一「立」之中。上句「黯相望」直写黯然神伤地凝望，一个「黯」字写尽神情黯淡之态，与起拍「凭阑悄悄」遥相呼应，章法回环。两句以声写静，以景写情，把抽象的相思化为断鸿哀鸣、斜阳立尽的具体画面，言有尽而意无穷，是「以景结情」的典范句，历来传诵不衰。
The close ends feeling through scenery, the most lyrical place of the ci. 'Amid the cry of a lost goose' writes the desolation of hearing through the wailing of a lone goose; a 'lost goose' is a goose separated from its flock, at once a real autumn sight and a symbol of solitary travel — a lost goose still wailing, how much more the solitary poet. 'I stand until the sunset is spent' writes standing until the slanting sun sinks; 'stand until spent' exhausts the passage of time and the duration of standing — from sun still up to sun spent, the poet stands alone gazing; the depth, infatuation and despair of longing are all in this one 'stand.' The earlier line 'gloomy gaze' directly writes gazing in dejection; the word 'gloomy' exhausts the darkened expression, echoing the opening 'lean on the railing in silence,' the craft moving in a loop. The two phrases write stillness through sound and feeling through scenery, turning abstract longing into the concrete picture of a lost goose's cry and standing out the sunset; words end, meaning does not — a model of 'closing feeling through scenery,' cherished through the ages.
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《雨霖铃·寒蝉凄切》「寒蝉凄切，对长亭晚，骤雨初歇」与《玉蝴蝶·望处雨收云断》同为柳永离别怀人的名篇。差异在于：雨霖铃写的是离别之时，「执手相看泪眼，竟无语凝噎」的现场情景，「杨柳岸，晓风残月」的别后设想，情感集中于一时一地的分别；玉蝴蝶写的是离别之后的远望怀人，「雨收云断」「断鸿声里，立尽斜阳」写凭栏凝望的绵长思念，情感铺展于漫长的岁月。一写别时的依依不舍，一写别后的刻骨相思；一以凄切胜，一以绵邈胜。两词并读，恰可见柳永离别词从「别时」到「别后」的完整情感链条，也可见其长调铺叙手法的两种运用。
八声甘州·对潇潇暮雨洒江天 Eight Beats of Ganzhou: Facing the Evening Rain That Spatters the Long River 柳永 · 同写秋日羁旅怀乡，一壮阔一萧疏 Both are the lyrics of the far looking of Liu Yong — the rain of the river, the geese of the broken — the two far lookings of the same master.Liu Yong's 'Eight Beats of Ganzhou' — 'the evening rain that spatters the long river' — is the far looking of the rain; 'The Jade Butterfly' — 'the broken geese, the slanting sun' — is the far looking of the geese — the two far lookings of the same master, the one of the river, the other of the sun.
《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天，一番洗清秋」「不忍登高临远，望故乡渺邈，归思难收」与《玉蝴蝶·望处雨收云断》同为柳永秋日羁旅怀人之作。差异在于：八声甘州以「潇潇暮雨洒江天」起笔，气象壮阔，「霜风凄紧，关河冷落，残照当楼」写秋之肃杀，苏轼评其「不减唐人高处」；玉蝴蝶以「雨收云断」起笔，景象清疏，「水风轻、苹花渐老，月露冷、梧叶飘黄」写秋之衰飒，情致细腻。一壮阔一萧疏，一苍凉一缠绵，恰见柳永羁旅词的两种面目。两词皆以「望」字结情（八声甘州「妆楼颙望」、玉蝴蝶「黯相望」），对读可见柳永如何以不同的秋景写同一怀乡之情的艺术匠心。
浣溪沙·一曲新词酒一杯 Silk-Washing Stream: A Cup of Wine, A New Song 晏殊 · 同写时光流逝与怀人之思，一闲雅一凄苦 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
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